Behringer V-AMPIRE LX110 User manual

Category
Audio amplifiers
Type
User manual

This manual is also suitable for

V-AMPIRE LX110
Version 1.0 February 2007
User Manual
2
V-AMPIRE LX110
This symbol, wherever it appears, alerts you to
the presence of uninsulated dangerous voltage
inside the enclosure—voltage that may be
sufficient to constitute a risk of shock.
This symbol, wherever it appears, alerts you to
important operating and maintenance instructions
in the accompanying literature. Please read the
manual.
IMPORTANT SAFETY INSTRUCTIONS
CAUTION: To reduce the risk of electric shock, do not remove
the top cover (or the rear section). No user serviceable
parts inside; refer servicing to qualified personnel.
WARNING: To reduce the risk of fire or electric shock, do not
expose this appliance to rain and moisture. The apparatus
shall not be exposed to dripping or splashing liquids and no
objects filled with liquids, such as vases, shall be placed
on the apparatus.
1) Read these instructions.
2) Keep these instructions.
3) Heed all warnings.
4) Follow all instructions.
5) Do not use this apparatus near water.
6) Clean only with dry cloth.
7) Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8) Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
9) Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. If
the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.
10) Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.
11) The apparatus shall be connected to a MAINS socket
outlet with a protective earthing connection.
12) Where the MAINS plug or an appliance coupler is
used as the disconnect device, the disconnect device
shall remain readily operable.
13) Only use attachments/accessories specified by the
manufacturer.
14) Use only with the cart, stand, tripod, bracket, or table
specified by the manufacturer, or sold with the
apparatus. When a cart is used, use caution when moving
the cart/apparatus combination to avoid injury from
tip-over.
15) Unplug this apparatus during lightning storms or
when unused for long periods of time.
16) Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed to
rain or moisture, does not operate normally, or has been
dropped.
17) CAUTION - These service instructions are for use by
qualified service personnel only. To reduce the risk of
electric shock do not perform any servicing other than
that contained in the operation instructions.
3
V-AMPIRE LX110
LX110
V-AMPIRE
45-Watt Digital Modeling Guitar Amp with Original BUGERA 10" Speaker
V Powerful 45-Watt digital modeling workstation with 16 classic amp and cabinet models
V Original heavy-duty 10'' BUGERA dual-cone full-range speaker for faithful sound reproduction
V 100 memory locations—easily editable and storable
V 24-bit stereo multi-effects processor including first-class stomp box simulations
V Amp/speaker simulation, compressor, noise gate, EQ, modulation effects, delay and reverb simultaneously
or in any combination
V Awesome modulation and pitch bend effects
V Extremely low-noise instrument input ensures maximum guitar signal integrity
V Stereo RCA Auxiliary input for line-level signals (CD, soundcard, monitoring, etc.)
V Remote preset selection and tuner activation (footswitch FS112 included) and remote Wah or continuous
FX control (pedal FCV100 optional)
V Super-precise and adjustable auto-chromatic tuner
V High-quality components and exceptionally rugged construction ensure long life
V Conceived and designed by BEHRINGER Germany
4
V-AMPIRE LX110
TABLE OF CONTENTS
1. INTRODUCTION .........................................................5
1.1 Before you get started ................................................... 5
1.1.1 Shipment ............................................................... 5
1.1.2 Initial operation...................................................... 5
1.1.3 Online registration ................................................ 5
2. CONTROL ELEMENTS AND CONNECTORS ..............6
2.1 Front panel ...................................................................... 6
2.2 Rear panel ...................................................................... 8
3. APPLICATION EXAMPLE ...........................................8
4. PRESETS ...................................................................8
4.1 Editing presets ................................................................ 8
4.2 Restoring the factory presets........................................ 9
5. AMP/SPEAKER SIMULATION ....................................9
6. EFFECTS PROCESSOR ............................................10
6.1 Effect descriptions ....................................................... 10
6.1.1 Delay algorithms ................................................. 10
6.1.2 Modulation effects ............................................. 10
6.1.3 Special effects ................................................... 11
6.2 Reverb .......................................................................... 11
6.3 Pedal function ............................................................... 11
6.3.1 FCV100 pedal calibration ................................... 11
7. TUNER ......................................................................12
7.1 Tuning your guitar ........................................................ 12
7.2 Setting reference pitch “A” .......................................... 12
7.3 Tuner Bypass volume .................................................. 12
8. INSTALLATION .........................................................12
9. SPECIFICATIONS .....................................................13
10. APPENDIX ..............................................................14
11. WARRANTY ............................................................15
FEDERAL COMMUNICATIONS COMMISSION
COMPLIANCE INFORMATION ................................16
FOREWORD
Dear Customer,
Welcome to the team of
V-AMPIRE users, and
thank you very much for
expressing your confi-
dence in BEHRINGER by
purchasing the V-AMPIRE.
Writing this foreword for
you gives me great
pleasure, because it
represents the culmi-
nation of many months of
hard work delivered by
our engineering team to
achieve a very ambitious
goal: to present an
outstanding guitar
amplifier whose
amazing functions offer
a maximum on flexibility
and performance. The task of designing our new V-AMPIRE
certainly meant a great deal of responsibility, which we assumed
by focusing on you, the discerning user and musician. Meeting
your expectations also meant a lot of work and night shifts. But
it was fun, too. Developing a product usually brings a lot of
people together, and what a great feeling it is when all who
participated in such a project can be proud of what they’ve
achieved.
It is our philosophy to share our enjoyment with you, because
you are the most important member of the BEHRINGER team.
With your highly competent suggestions for new products you’ve
made a significant contribution to shaping our company and making
it successful. In return, we guarantee you uncompromising quality
as well as excellent technical and audio properties at an extremely
reasonable price. All of this will let you give free rein to your
creativity without being hampered by budget constraints.
We are often asked how we manage to produce such high-
quality equipment at such unbelievably low prices. The answer
is quite simple: it’s you, our customers! Many satisfied customers
mean large sales volumes enabling us to get better purchasing
terms for components, etc. Isn’t it only fair to pass these benefits
on to you? Because we know that your success is our success
too!
I would like to thank all of you who have made the V-AMPIRE
possible. You have all made your own personal contributions,
from the developers and the many other employees at this
company to you, the BEHRINGER user.
My friends, it’s been worth the effort!
Thank you very much,
Uli Behringer
5
V-AMPIRE LX110
1. INTRODUCTION
Congratulations! With the V-AMPIRE, you have the newest
generation of guitar amps. It offers an extremely broad range of
options and possibilities, the only limit being your own imagination.
The V-AMPIRE LX110 is an all-rounder with so many features
that you hardly need any other equipment.
1.1 Before you get started
1.1.1 Shipment
Your V-AMPIRE was carefully packed at the factory, and the
packaging was designed to protect the unit from rough handling.
Nevertheless, we recommend that you carefully examine the
packaging and its contents for any signs of physical damage
that may have occurred during transit.
If the unit is damaged, please do NOT return it to
BEHRINGER. Instead, notify your dealer and the
shipping company immediately. Otherwise, claims
for damage or replacement may not be honored.
Always use the original packing carton to prevent
damage during storage or transport.
Make sure that no children are left unsupervised
with the unit or its packaging.
Please ensure proper disposal of all packing
materials.
1.1.2 Initial operation
Be sure that there is enough space around the unit for cooling.
To avoid overheating, please do not place the V-AMPIRE near
radiators and other equipment emanating heat.
Please keep in mind that all the equipment has to
be grounded at all times. For your own protection,
never change or disable the grounding on your
equipment or on the cables! The unit must always
be connected to the mains outlet with a protective
earthing connection.
1. INTRODUCTION
1.1.3 Online registration
Please do remember to register your new BEHRINGER equipment
right after your purchase by visiting www.behringer.com
(alternatively www.behringer.de) and kindly read the terms and
conditions of our warranty carefully.
Should your BEHRINGER product malfunction, our goal is to have
it repaired as quickly as possible. To arrange for warranty service,
please contact the retailer from whom the equipment was
purchased. Should your BEHRINGER dealer not be located in
your vicinity, you may directly contact one of our subsidiaries.
Corresponding contact information is included in the original
equipment packaging (Global Contact Information/European
Contact Information). Should your country not be listed, please
contact the distributor nearest you. A list of distributors can be
found in the support area of our website (www.behringer.com/
support).
Registering your purchase and equipment with us helps us
process your repair claims quicker and more efficiently.
Thank you for your cooperation!
IMPORTANT NOTES CONCERNING
INSTALLATION
The sound quality may diminish within the range of
powerful broadcasting stations and high-frequency
sources. Increase the distance between the
transmitter and the device and use shielded cables
for all connections.
WARNING!
We would like to bring to your attention the fact that
extremely loud sound levels may damage your
hearing as well as your headphones. Please turn
the MASTER control all the way to the left before
powering up the unit. Keep the volume at an
appropriate level at all times.
6
V-AMPIRE LX110
2.1 Front panel
The GUITAR socket is the 1/4" connector for your guitar.
Please use a standard 1/4" TS connector.
The PHONES connector allows you to monitor the audio
signal with standard headphones (e.g. BEHRINGER
HP Series). This connector can also be used as a stereo
line output.
Plugging in the headphones automatically mutes
the power amp signal. So, before pulling the
headphones connector from the socket, please turn
the MASTER control fully left.
The FOOTSWITCH jack is used to connect an FS112
footswitch for preset selection (UP/DOWN).
The FCV100 jack is used to connect an FCV100 expression
pedal (not included), which can control various functions
(effects parameters, wah-wah, volume, etc.).
To assign a function to the pedal, press the TREBLE
and BASS button simultaneously (see and ).
Please read Chapter “6.3 Pedal Function” for more
information.
The CD/TAPE INPUT RCA inputs allow you to feed in an
additional stereo signal, for example, to play along to a
drum computer or music playback.
Use the MASTER control to adjust the overall volume of
the LX110.
The MASTER control is not programmable, i.e. its
setting cannot be stored in a preset.
After pressing the TREBLE control you can use the ADJUST
control to raise or lower the high-frequency range.
Press and turn the control to change the frequency range
you are modifying. The TREBLE button lights up when this
function is active and flashes while you are editing its
settings.
After pressing the BASS control you can use the ADJUST
control to raise or lower the low-frequency range.
Press and turn the control to change the frequency range
you are modifying. The BASS button lights up when this
function is active, and flashes while you are editing its
settings.
Press the TREBLE and BASS buttons simultaneously
to assign a specific function to the expression pedal
(the display shows “PA”). Please read Chapter
“6.3 Pedal Function” for more information.
Press the COMPR control to adjust the compressor.
ADJUST controls the sensitivity. Press and turn the
control to adjust the attack and release times. The COMPR
button lights up when this function is active and flashes
while you are editing its settings.
Chapter “6.1.3 Special Effects” explains in detail how the
compressor works.
Press the N-GATE button to adjust the noise gate. ADJUST
controls the sensitivity. Press and turn the control to
adjust the attack and release times. The N-GATE button
lights up when this function is active and flashes while
you are editing its settings.
Chapter “6.1.3 Special Effects” explains in detail how the
noise gate works.
When you press the COMPR and N-GATE buttons
simultaneously, you can use the UP and DOWN
buttons to select a memory location for the preset
you are editing. Keep the COMPR and N-GATE
buttons pressed for a while to store the preset.
Please read Chapter “4. PRESETS” for more
information.
To select a preset (99 – 00, decremental), press the DOWN
button once quickly. Keep the button pressed to scroll
through the presets quickly.
To select a preset (00 – 99, incremental), press the UP
button once quickly. Keep the button pressed to scroll
through the presets quickly.
Pressing the DOWN and UP buttons simultaneously
activates the TUNER mode of the V-AMPIRE. Press
either one of the two buttons to deactivate the
TUNER mode. Please read Chapter “7. TUNER” for
more information.
2. CONTROL ELEMENTS AND CONNECTORS
2. CONTROL ELEMENTS AND CONNECTORS
Fig 2.1: V-AMPIRE control elements (front view)
7
V-AMPIRE LX110
The DISPLAY shows the preset number or the selected
effects model. It also informs you about any parameter
changes while editing a preset. In TUNER mode, the
DISPLAY indicates the target note, while in calibration mode,
the calibration is shown in Hertz (Hz). The decimal points
start to flash when the V-AMPIRE signal is overloading.
The decimal points shine continuously when a 2
nd
LAYER
AMP or FX model is active.
Fig. 2.2: The display of the V-AMPIRE
Status LEDs in the display:
EDIT: lights up when a preset has been edited but not yet
stored.
TAP SPEED: flashes to indicate the effect speed adjusted
with the TAP function for MODULATION and DELAY effects.
PEDAL SPEED: lights up when an effect speed parameter
has been assigned to the expression pedal.
PEDAL EFFECT: lights up when any other effect
parameter has been assigned to the expression pedal.
PEDAL VOLUME: lights up when the expression pedal
has been set to control the volume or gain setting.
PEDAL WAH: lights up when the WAH effect has been
assigned to the expression pedal and flashes when the
WAH is active. In Tuner mode, this LED shows the pitch of
the instrument.
TUNER LEDs: In Tuner mode, these 5 LEDs indicate the
pitch of the instrument (incl. PEDAL WAH LED).
In general, the ADJUST control is used to adjust the GAIN
settings of the presets and the effects parameters while
editing a preset. Press and turn the control to determine the
VOLUME settings and other effect parameters of the
presets. Effect speed parameters can be adjusted by
tapping the control several times (TAP). Additional
information on the individual control elements can be found
in Chapter “6. EFFECTS PROCESSOR”.
Next to the FX/AMPS control an LED shows the currently
selected AMP model. The 2
nd
LAYER (PUSH) LED indicates
that it is an AMP model from the 2
nd
LAYER (grey), otherwise
it is a 1
st
layer AMP model (black). Turn the control to select
a 1
st
layer AMP model/effect, press and turn the control to
select a 2
nd
layer model.
If one of the AMPS LEDs lights up (right half), use
the ADJUST control to set the GAIN or VOLUME.
If one of the EFFECT LEDs lights up (left half), the
ADJUST control can be used to set the selected
effect parameter.
2. CONTROL ELEMENTS AND CONNECTORS
Press the DELAY button to adjust the DELAY effect. Delay
generates an echo-type delay of the input signal. The
FX/AMPS control selects a DELAY model. ADJUST
controls the effect intensity. Press and turn this control to
set the feedback level. The rhythm with which you tap the
ADJUST control determines the intervals between the
individual echoes (delay time). The DELAY button flashes
in edit mode and shines continuously when the effect is
active.
The delay effects are described in full detail in Chapter
“6.1.1 Delay Algorithms”.
Press the REVERB button to adjust the REVERB effect.
REVERB allows you to add a specific hall or room ambience
quality to the overall sound. Use the FX/AMPS control to
select one of four different reverb types: Ambience (2
nd
LAYER LED flashes), Cathedral, Spring (2
nd
LAYER LED
flashes) and Reverb. ADJUST determines the reverb
intensity (Mix). Press and turn this control to adjust the
decay time. The REVERB button LED flashes in edit mode
and shines continuously when the reverb effect is active.
The reverb types are described in full detail in Chapter
“6.2 Reverb”.
Press the MODUL(ulation) button to select one of eight
modulation effects with the FX/AMPS control: Chorus,
Flanger, Phaser, Pitch Bend, Tremolo, Rotary, Auto Wah
and P-Funk’n. The 2
nd
layer effects (2
nd
LAYER LED flashes)
can be accessed by simultaneously pressing and turning
this control. Depending on the selected modulation effect,
the ADJUST control determines either the effect intensity
(Mix) in the preset or the effect depth. Press and turn this
control to edit a second parameter which depends on the
effect selected. The speed parameter can be set by
pressing ADJUST (TAP). Use the UP and DOWN buttons to
selected different models within an effect. The MODUL
button flashes in edit mode and shines continuously when
the effect is active.
The modulation effects are described in full detail in Chapter
“6.1.2 Modulation Effects”.
Press the DELAY and MODUL button simultaneously
to adjust the global input gain of the V-AMPIRE with
the ADJUST control. With particularly low or high-
level guitar signals set the control to the right or
left of its center position respectively. Use the UP
and DOWN buttons to activate an additional filter
preset for optimizing the sound. Both buttons flash
in edit mode.
The modulation effects Auto Wah, Pitch Bend and
P-Funk’n cannot be used in combination with the
Wah-Wah effect. When either one of these three
effects has been selected while the pedal is
assigned to the Wah effect, the latter will be
deactivated (WAH LED goes out in the display).
Assigning the expression pedal to the Wah effect
automatically disables the Auto Wah or Pitch Bend
effect, so that the modulation effects are no longer
active (all modulation effect LEDs go out).
Please see Chapter “10. APPENDIX” for a list of all functions.
8
V-AMPIRE LX110
4. PRESETS
2.2 Rear panel
Fig. 2.3: Operating elements of the V-AMPIRE (rear panel)
SERIAL NUMBER.
FUSE HOLDER/VOLTAGE SELECTOR. Before
connecting the unit to the mains, ensure that the voltage
setting matches your local voltage.
A blown fuse should only be replaced by a fuse of the
same type and rating. On some units, the fuse holder can
be switched to one of two positions, i.e. 230 V and 120 V.
Please note that when operating the unit outside Europe at
120 V, a higher fuse rating is required (see Chapter
“9. SPECIFICATIONS”).
The mains connection is on an IEC receptacle. A suitable
power cord is included with the unit.
Use the POWER switch to operate the V-AMPIRE. The
POWER switch should always be in the OFF position (out)
when connecting the unit to the mains.
The POWER switch does not fully disconnect the
unit from the mains. To disconnect the unit from
the mains, pull out the mains connector. When
installing the product, ensure that the mains
connector has not been damaged. Unplug the power
cord completely when the unit is not used for long
period of time.
3. APPLICATION EXAMPLE
Fig. 3.1 shows an example of how to use the V-AMPIRE LX110.
When you connect headphones (thereby muting the speaker)
and a CD player or drum computer, you get an ideal setup for
practising at home.
Fig. 3.1: Practice setup
4. PRESETS
Your V-AMPIRE features 100 rewritable presets (00 – 99). After
power-up the last preset used is automatically recalled. Each
preset consists of a maximum of 6 “ingredients”:
V one amp simulation,
V pre-amp effects (noise gate, compressor, wah-wah),
V tunable treble and bass EQs,
V one modulation effect (e.g. phaser, chorus, etc.),
V one delay effect, and
V one reverb effect.
4.1 Editing presets
Editing presets on the V-AMPIRE is quick and easy, simply follow
the instructions below:
V First, determine the global gain by pressing the DELAY and
MODUL buttons simultaneously. Then use the ADJUST
control to set the gain. If required, use the UP and DOWN
buttons to activate an additional filter preset for optimizing
the basic sound. Press DELAY and MODUL again to quit
this menu.
V Select a preset with the UP and DOWN buttons.
V Then, select an amp model with the FX/AMP control. The
EDIT LED on the display lights up to indicate that you are
editing the preset.
9
V-AMPIRE LX110
5. AMP-/SPEAKER-SIMULATION
V Modify the basic sound with the treble and bass filter
functions. Press the respective function button and adjust
the setting with the ADJUST control (see Chapter
“2.1 Front Panel”).
V Select the pre-amp effect you wish to use by activating
the corresponding buttons (compressor, noise gate) and
edit the effect with the ADJUST control (see Chapter
“6.1.3 Special Effects”).
V Add a delay, reverb and/or modulation effect to your sound
by pressing the appropriate buttons and selecting the
effects with the FX/AMPS control. Use the ADJUST control
to edit various effect parameters (see Chapter “6. EFFECTS
PROCESSOR”).
V When you are satisfied with the settings, store the preset
by pressing COMPR and N-GATE (STORE) for more than 2
seconds. The EDIT LED goes out and the edited preset is
active. If you want to select a different memory location for
your preset, press COMPR and N-GATE briefly, so that the
two buttons start to flash. Now use the UP and DOWN
buttons to select a different memory location. Then press
COMPR and N-GATE for more than 2 seconds to finalize
the store process.
If you select another preset while editing and
without saving the currently selected preset, all
changes that have been made so far will be
discarded.
4.2 Restoring the factory presets
You can restore the factory presets of your V-AMPIRE at any
time.
V When switching on the unit, hold down the DELAY and
MODUL buttons for more than 2 seconds. This will restore
all factory presets (“CL” flashes on the display).
5. AMP/SPEAKER SIMULATION
The very heart of your V-AMPIRE is its amp/speaker simulation.
The V-AMPIRE makes it a breeze for you to select one of the
legendary guitar amps, be it for Brit pop, blues, heavy metal or
whatever. In addition, you can tailor the sound of the respective
amp to suit your ideas. On top of all that, you can even choose
digital effect and reverb types for your virtual amp. Read Chapter
“6. EFFECTS PROCESSOR” for more details.
When your V-AMPIRE is switched on, it automatically activates
the last preset selected. The LED ring around the FX/AMPS control
shows what amp has been selected. The corresponding LED
lights up. Simply turn the control to select another amp.
To give you a better overview of the wide range of amp
simulations on the V-AMPIRE, we have compiled the following
descriptions of the different types of amps.
CLASSIC CLEAN: Back in the ’80s, the Roland JC-120 was the
preferred sound of Buzzy Feiten (guitarist with the Dave Weckl
Band). The unique quality of this transistor amp’s sound is the
way its brilliance cuts through any mix. It is ideal for the New
Wave sound of the ’80s that is making a come-back today. By
the way, the JC-120 was also popular among Fender Rhodes
pianists.
V-AMP CRUNCH: This amp is ideal for modern blues or jazz. Its
sound is not too subtle, but not in-your-face either—it’s crunchy,
that’s all.
BRITISH PLEXI: This amp model, created by leaning closely to a
’59 Marshall Plexi 100-Watt amp, is particularly well-suited for
creating clean sounds. The amp was used by Jimi Hendrix, Eric
Clapton and Jeff Beck.
BRIT CLASS A: This simulation is modeled on the Vox
AC 30. This amp was originally designed in the ’60s when
guitarists wanted amps with enhanced brilliance, a feature that
Vox successfully implemented by means of “revolutionary” bass
and treble controls. Brian May and U2’s The Edge are probably
the best-known users of this sound.
BRIT HI GAIN: Compare this model with a Marshall JCM 800.
Although the original was renowned mainly for its distorted
sounds, this amp also sounds very good with low gain settings.
It’s good at reproducing Steve Ray Vaughan’s and Michael
Landau’s sounds. In distortion mode it sounds like Gary Moore in
his early days, but it’s also good for heavy metal.
SAVAGE BEAST: Engl is well-known for amps that really cut
through. The Savage 120 in particular has built up a large
following among guitarists. For some time now Ritchie Black-
more has been a major endorser of this German company, and
Randy Hanson, the best Hendrix since Jimi, also swears by this
amp. The unique feature of the Savage is its extreme power and
is therefore highly popular with heavy metal guitarists. Silent
Force/Sinner guitarist Alex Beyrodt has been an enthusiastic
Engl user for years. An amp for making yourself heard!
NUMETAL GAIN: This model is based on a 1994 Mesa Boogie
Dual Rectifier Trem-O-Verb featuring a modern, high-gain sound
that also comes over well in a band context.
MODERN GAIN: Here, the tone control is post-gain, allowing the
extremely distorted sound to cut through the mix. The MODERN
HI GAIN sound is ideal for playing grunge, but is also used by
guitarists such as Steve Vai and Joe Satriani. Among others,
Steve Lukather, Nuno Bettencourt and Steve Vai have all
popularized the Soldano sound. If you’re playing a Gibson
Les Paul, MODERN HI GAIN sounds best when you turn down
the volume control on the guitar a little.
BLACK TWIN: This simulation was modeled on a Fender
Blackface Twin from 1965. In the ’60s this amp was used by
jazz, country and even rock guitarists. What was unique about
it was that it was exceptionally loud and was therefore mainly
used for live performances. The secret of the Blackface Twin
was that although you could play it extremely loud, the distortion
remained relatively low.
ULTIMATE GAIN: From clean to brutal hi-gain, this “brute” covers
the entire range. The ULTIMATE V-AMP is basically a souped-up
rectifier amp.
TWEED COMBO: This was Jeff Beck’s favorite when he recorded
the albums Blow by Blow and Wired. This amp was not actually
designed for heavy distortion, but owing to its low power, it is
ideal for uncompromising overdrive sound.
TWEED BASS: This virtual amp is modeled on the Fender
4 x 10 Combo. Originally designed as a bass amp, it soon became
a standard amp of blues legends such as Steve Ray Vaughan or
Billy Gibbons due to its characteristic distortion. As you would
expect, it packs a solid punch in the bass range, but is still
flexible enough in the mid and treble ranges.
SCREAMER: Having been around since the beginning of the
’80s, the Ibanez Tube Screamer TS808 has pretty much achieved
cult status. It has the reputation of being the ultimate classical
overdrive/treble booster floor pedal, and is associated with mighty
lead sounds, even though it offers rather modest distortion. Its
secret is that it “knows” better than other floor pedals how to
squeeze the very last bit out of the amp to which it is connected.
EL RATON: The Rat from ProCo was also a distortion pedal
similar to the tube screamer, and it also came around about the
same time, but its basic sound and applications couldn’t be more
different. As the name suggests, the Rat is all about aggressive
distortion from the pedal itself, and the TS808 is more about
unobtrusive overdrive in the amp further down the chain. With
the rat simulation, you have the metal sound of the early ’80s
totally covered.
10
V-AMPIRE LX110
AMP BYPASS: In this setting, no amp simulation is selected. This
makes it possible, for example, to play through an external guitar
preamp and only use the effects.
ACOUSTIC: A guitar with steel strings miked with a dynamic
microphone is simulated here. While piezo pickups have the
tendency to make the sound rather hard, using a mic makes the
sound much more evened-out. Of course, the feedback typical
for miking acoustic instruments is no longer an issue.
Engl, Fender, Gibson, Ibanez, Marshall, Mesa Boogie, Roland, Soldano, Vox ProCo, Tube Screamer,
The Rat as well the names of musicians and bands are registered trademarks of their respective
owners and are in no way associated with BEHRINGER. The brand names appearing here are
mentioned solely to describe the character of sounds and effects created in the V-AMPIRE.
6. EFFECTS PROCESSOR
A special feature of your V-AMPIRE is its built-in multi-effects
processor module offering 16 different groups of first-class
effects, such as chorus, flanger, delay, auto wah as well as
various combinations of effects. You can select one effect out
of each of the three effects blocks (modulation, delay and reverb).
To synchronize speed-based effects with the
tempo of the music, tap the ADJUST (TAP) button at
least twice to the beat of the music.
6.1 Effect descriptions
The following section contains short descriptions of the effects
that you can use.
6.1.1 Delay algorithms
The delay effects can be modified by changing the following
3 parameters:
V by turning the ADJUST control (effect mix),
V by pressing and turning the ADJUST control (feedback),
and
V by pressing or tapping the ADJUST control to the beat of
the music (interval between echoes/delay time).
STEREO DELAY: This effect delays the input signal. Different
tempo settings let you create a wide array of delay effects. Be
experimental—try going from short to very long delays.
LONG ECHO: What’s so special about this delay effect is that
the repetition interval of the echoes is 50% longer than the time
interval measured between two taps on the ADJUST (TAP)
control. This way, you can create a frequently used echo effect
easily: if you tap and play in quarter-notes, the echoes are
positioned three eighths away. This effect can be best
demonstrated by U2’s guitarist The Edge.
SLAP ECHO: As the name suggests, a delay with a very short
repetition interval. The V-AMPIRE takes a half of the time interval
measured between the taps on ADJUST (TAP) while the echo
velocity doubles.
PING PONG: A delay effect that changes position in the stereo
image.
6.1.2 Modulation effects
When editing the modulation effects you can modify up to
4 parameters:
1. by turning the ADJUST control (depending on the effect,
this controls the effect intensity or the effect mix),
2. by pressing and turning the ADJUST control (second
parameter, see description of effects),
3. by pressing the UP and DOWN buttons to select various
effect models (1 – 4), and
4. by tapping the ADJUST control to the beat of the music
(modulation speed).
PHASER: The principle behind a phaser is that a second, phase-
shifted signal is added to the audio signal. This makes the sound
richer and, above all, livelier. This effect has been popular for
decades because it can be used to produce slightly modulating
or strongly alienating effects, regardless of what instrument
you are using. Two of the classic versions of this effect that we
simulate are the 4-level MXR Phase 90 (1) and the 12-level Boss
PH2 (4). Additionally, the V-AMPIRE offers 2 additional exceptional
versions of an 8-level (2) and a 10-level (3) phaser.
The second parameter controls resonance, the third controls
the phaser model (1 - 4).
PITCH BEND: The Digitech Whammy pedal and the PS-5 Super
Shifter from Boss are extremely well-liked effects which produce
an effect signal that is out of tune with the input signal. Models
1 - 4 offer the best pitch bend effects.
Use ADJUST to determine “mix”.
The PS-5 Super Shifter (1) generates a fixed interval of several
half-tones based on the source tone. When the T-Arm Simulation
(2) is used, this interval will be active only if the expression
pedal is fully pressed. The time that elapses before the interval is
reached can be determined by pressing the ADJUST (TAP) control
repeatedly.
With the Whammy effect (3), detuning depends on the position
of the pedal (pedal up = original tone pitch, pedal down = the
interval entered under (2)).
In contrast to the pitch shifter, the detune effect (4) creates a
modest out-of-tune interval that is only a fraction of a half-tone.
It sounds roughly like a permanently activated chorus.
The second parameter controls to what extent your tone detunes:
- for models 1 to 3 (-12/-7/-5/-3/+3/+4/+5/+7/+12 half-tones),
- for model 4 (-20 to +20% of a half-tone).
The third parameter lets you select between different effects
modules: pitch shift (1), T-Arm (2), Whammy (3) and detune (4).
Since pitch bend effects 2 and 3 require the
expression pedal, other expression pedal functions,
such as Wah Wah, are automatically deactivated. In
this case, the pedal assign effect LED lights up.
TREMOLO: Simulates the classic Fender DeLuxe tremolo as
well as the Vox AC15 and Gate tremolo. Ever since Trip Hop
gained on importance, this volume modulation effect is totally in.
The second parameter controls the dependence of modulation
tempo on volume: loud input signal = quicker modulation, lower
input signal = slower modulation.
The third parameter lets you chose from different tremolo types:
Fender (1), Vox (2), Gate (3) and Panning (4).
ROTARY: This is the quintessential simulation of the classic organ
effect normally produced by speakers rotating at slow or fast
speed in an extremely heavy speaker cabinet. This effect uses
the physical principle of the Doppler effect to modulate the sound.
The second and the third parameters control the sounds
modulation.
FLANGER: This effect is self-explanatory. Originally the flanger
effect was produced by running two synchronized tape
recorders at the same time. The same signals (e.g. a guitar solo)
were recorded on both machines. By putting a finger on the left
reel of one of the machines, the reel and, consequently, the
playback slowed down. The resulting delay produced phase
shifts of the signals. Outstanding examples of this effect genre
are the Ultra Flanger on the BF-3 (1) and the classic BF-2 (2)
from Boss as well as the Flanger from MXR (3) and A/DA (4).
The second parameter controls the resonance (effect feed-
back to the input), and the third parameter selects the flanger
model (1 – 4).
6. EFFECTS PROCESSOR
11
V-AMPIRE LX110
CHORUS: This effect adds a slightly modulated off-key element
to the original signal, thus creating a pleasant floating effect
through variations in pitch. One of the most popular studio chorus
effects was the Tri Stereo Chorus, with its 12 (!) voices that are
modulated against each other. The V-AMPIRE offers you this
effect in two versions (1, 2), in addition to the 2 classic effects
Boss Chorus Ensemble CE-1 (3) and the Roland Dimension D (4).
The second parameter controls the modulation depth while the
UP and DOWN buttons are used to select the chorus model
(1 – 4). The modulation speed is set by pressing ADJUST (TAP).
High depth and speed values result in a clearly audible detuning
of the signal (off-key sound).
AUTO WAH: The American funk in the ’70s proved that auto
wah had many possible applications. Instead of regulating the
filter frequency with your foot, our effect regulates automatically
depending on the signal level. In doing so, our effect is similar to
the EHX MuTron III in the up position.
The ADJUST control determines the sensitivity.
The second parameter determines how quickly the filter is shifted;
the third parameter selects the effects block (1 - 4).
P-FUNK’N: This is our attempt at replicating the legendary MuTron
III, and we succeeded! The most famous user of this effect is
probably Bootsy Collins. The MuTron III had an up/down switch.
Our particular effect resembles the MuTron in the down position.
The ADJUST control determines the sensitivity.
The second parameter determines how quickly the filter is shifted,
while the third parameter determines the effects block (1 – 4).
6.1.3 Special effects
WAH WAH: The legendary Wah Wah effect owes its fame mainly
to Jimi Hendrix. To describe this effect would certainly be more
difficult than to simply suggest to listen to Hendrix using it on
“Voodoo Chile”.
Wah Wah is not available when auto wah, P-Funk’n
or pitch bend are being used.
COMPRESSOR: Our simulation is based on the well-known MXR
Dyna Comp. A compressor limits the dynamic range of a signal
by reducing the signal level as soon as a pre-determined threshold
is exceeded. A compressor lets you achieve noticeable and
creative sound effects. The extent at which the compressor
kicks in is controlled with ADJUST, allowing you to achieve
apparent sustain. When ADJUST is turned all the way to the left,
the compressor function is deactivated.
The second parameter (attack) controls the amount of time that
the compressor needs to react, once the threshold has been
exceeded. If you set up a short attack time, the compressor will
react very fast.
NOISE GATE: Noise gates are used to remove or reduce
noise or other interference. Guitar signals in particular are very
sensitive to interference. Not only do guitarists often use high-
gain settings but guitar pickups can amplify unwanted
interference. This can be painfully obvious during breaks in the
music. And how does a noise gate work? It simply mutes the
signal during breaks, eliminating any interference at the same
time.
The ADJUST control determines when the noise gate starts
processing. This control allows you to suppress background
noise more or less pronouncedly. When ADJUST is turned all the
way to the left, the noise gate function is deactivated.
The second parameter (release) determines the time that the
noise gate remains open after it had fallen below the threshold.
Setting up a short release time means that the noise gate
suppresses the signal very soon after it detects noise.
6.2 Reverb
The reverb is still one of the most important effects used in a mix
or at a live event. BEHRINGER offers you four different reverb
programs, so that you can always find the reverb that best fits
the music style:
Ambience: a short room simulation without reverb tail.
Cathedral: a long, rich reverb, like in a cathedral.
Spring: the typical sound of a classic spring reverb.
Reverb: a universal, warm reverb simulating a concert hall.
ADJUST controls the reverb intensity, while the second parameter
determines decay.
6.3 Pedal function
Press the TREBLE and BASS buttons simultaneously to assign a
specific function to the expression pedal (the display shows
“PA”). At the same time, one of the right-hand LEDs on the display
starts to flash (speed, effect, volume, wah). If Pedal Assign is
active, simply edit the parameter of your choice to automatically
assign it to the expression pedal (the corresponding Assign LED
lights up). Press TREBLE and BASS again to confirm your
selection:
V SPEED: the pedal controls the SPEED parameter of a delay
or modulation effect (e.g. delay time).
V EFFECT: the pedal controls the first effect parameter
(depending on the effect used, this is the effect mix or
effect depth).
V VOLUME: the pedal controls the preset volume.
V WAH: the pedal controls the wah effect. You can also just
move the expression pedal to select the wah function.
When the pedal function is activated, one parameter
is always assigned to the pedal.
Auto Wah and/or Pitch Bend are disabled as long as
the Wah-Wah effect is assigned to the expression
pedal.
Press TREBLE and BASS a third time to confirm your selection
and quit the PEDAL menu.
6.3.1 FCV100 pedal calibration
Please follow the steps below to optimally adapt the pedal control
range of the FCV100:
V Hold down the BASS and TREBLE buttons for more than 2
seconds while switching on the unit to enter pedal
calibration mode.
V Press the pedal fully down. The display shows “PL” (Pedal
Low).
V Then, move the pedal fully up. The display shows “PU”
(Pedal Up). The calibration is now complete.
V To quit the pedal calibration mode, press the BASS and
TREBLE buttons simultaneously.
A/DA, Boss, DyTronics, Electro Harmonix (EHX), MXR, Digitech, Vox as well the names of
musicians and bands are registered trademarks of their respective owners and are in no way
associated with BEHRINGER. The brand names appearing here are mentioned solely to describe
the character of sounds and effects created in the V-AMPIRE.
6. EFFECTS PROCESSOR
12
V-AMPIRE LX110
8. INSTALLATION
7. TUNER
The built-in tuner can be switched on and off by pressing the UP
and DOWN buttons simultaneously. This switches the V-AMPIRE
to bypass mode.
7.1 Tuning your guitar
The chromatic tuner automatically recognizes the frequencies
of all the standard guitar notes. For the A string, this means a
frequency of 110 Hz. When you plug your guitar into the
V-AMPIRE and play an open string, the tuner will recognize and
display the note. Since the tuner uses an auto-chromatic scale,
it can also recognize semitones which are indicated with the flat
symbol “b” in the display.
However, it may happen, for example, that a note is displayed as
“A” but is actually slightly out of tune. This is shown by at least
one of the four LEDs at the bottom of the display lighting up. In
certain cases even two of the LEDs may light up indicating that
the pitch of the note played lies between the pitches represented
by the two LEDs. When the circular tuner LED in the middle lights
up, then the note played is in tune.
7.2 Setting reference pitch “A”
To give you maximum freedom when tuning your guitar, you can
change the preset reference pitch “A”. For clarity’s sake, let’s
look at this in more detail.
The so-called concert pitch “A” has been raised steadily over
time. For example, the tuning forks used by Bach, Händel or
Mozart resonated at 415, 420 or 421 Hz (oscillations per second).
Today’s orchestras tune to “A” at 444 Hz, and the Berlin
Philharmonic Orchestra lead the field with their own concert
pitch “A” at 447 Hz.
The reference “A” on your V-AMPIRE has been factory-
programmed at 440 Hz. If you are going to play with a big orchestra
that tune their instruments to a reference pitch of 444 Hz, you
will need a function that allows you to change your reference
pitch:
V Switch on the tuner by pressing the UP and DOWN buttons
simultaneously, then press and hold the ADJUST control to
enter the calibration mode: The display shows “40”, i.e. 440
Hz.
V Press and turn the ADJUST control to increment/decrement
the reference tone “A” by 15 Hz each. The display always
shows the last two digits of the basic tone, given that the
first digit is always “4” (“44” = 444 Hz, etc.).
V Release the ADJUST control to quit the calibration mode.
Any changes made are stored automatically. The remaining
strings of your guitar are now tuned on the basis of the
adjusted reference tone.
7.3 Tuner Bypass volume
In tuner mode, the ADJUST control adjusts the volume of the
guitar signal while tuning up. Turning the control fully left mutes
the signal.
8. INSTALLATION
The inputs of the BEHRINGER V-AMPIRE are on 1/4" TS
connectors. The headphones output is on a 1/4" TRS connector.
The CD/TAPE INPUT connectors are on unbalanced RCA jacks.
Fig. 8.1: 1/4" TS connector
Fig. 8.2: Headphones connector
Fig. 8.3: RCA cable
13
V-AMPIRE LX110
BEHRINGER constantly strives to maintain the highest quality standards.
Modifications may be made, if necessary, without prior notice. The
specifications and appearance of the equipment may therefore differ
from those listed or illustrated.
9. SPECIFICATIONS
INSTRUMENT INPUT
Type 1/4" TS connector, unbalanced
Input impedance approx. 1 M
Max. input level +5 dBu
LINE/HEADPHONE OUTPUT
Type 1/4" TRS stereo connector, unbalanced
Output impedance approx. 50
Max. output level +18 dBu @ 10 k / +21 dBm @ 100
AUX IN STEREO
Type 1/4" TRS stereo connector
Input impedance 4.7 k
DIGITAL SIGNAL PROCESSING
Converter 24-bit Delta-Sigma, 64/128-times
oversampling
Dynamics A/D 100 dB @ preamp bypass
Dynamics D/A 95 dB
Sample rate 31.250 kHz
DSP 100 Mips
Delay time max. 1960 ms stereo
DISPLAY
Type 2-digit, 7-segment LED display
AMPLIFIER
Peak power 45 W / 4
INTERNAL SPEAKER
Type 10" BUGERA
Dual-Cone Full-Range,
10K50A4
Impedance 4
Load capacity 50 W (IEC)
POWER SUPPLY
Mains voltage U.S./Canada 120 V~, 60 Hz
China/Korea 220 V~, 50/60 Hz
Europe/U.K./
Australia 230 V~, 50 Hz
Japan 100 V~, 50/60 Hz
General
export model 120/230 V~, 50 - 60 Hz
Power consumption 66 W max.
Fuse 100 - 120 V~: T 2.5 A H 250 V
200 - 240 V~: T 1.25 A H 250 V
Mains connection Standard ICE receptacle
DIMENSIONS/WEIGHT
Dimensions
(H x W x D) 395 mm (15 1/2")
x 355 mm (14")
x 215 mm (8 1/2")
Weight ca. 8.2 kg (18 lbs.)
9. SPECIFICATIONS
14
V-AMPIRE LX110
10. APPENDIX
Operating element Function FX/AMP ADJUST
ADJUST
(Push + Hold)
ADJUST
(Tap)
UP/DOWN
TREBLE High EQ - boost/cut Filter frequency - -
BASS Bass EQ - boost/cut Filter frequency - -
COMPR Compressor - Sensitivity
Attack/
Release
--
N-GATE Noise Gate - Sensitivity
Attack/
Release
--
MASTER Output volume - - - - -
UP/DOWN Selects a preset - - - - Preset selectio
n
DELAY
Calls up delay
menu
Selects a delay
effect
Mix Feedback Delay Time -
REVERB
Calls up reverb
menu
Select a reverb
effect
Mix Decay Time - -
MODUL
Calls up
modulation
menu
Selects a
modulation
effect
Mix or Depth
(depending on
effect)
2nd parameter
(depending on
effect)
Speed
Selection of
various effect
models
FX/AMP
Selects effects
and amp models
-----
UP + DOWN
Activates the
tuner
-
Tuner input
volume
Tuner calibration
(425 - 455 Hz)
--
TREBLE + BASS
Activates the
pedal function
-----
COMPR + N-GATE
Stores the
preset
----
Selects a
memory locatio
n
DELAY + MODUL
Global input
gain
-
Controls the
input gain
--
Selects a filter
preset
TREBLE + BASS
Selects pedal
calibration menu
during power-up
DELAY + MODUL
Restores the
factory presets
during power-up
The display shows "PU" or "PL"
The display shows "CL"
Key combinations
Power-up functions
Table 10.1: Overview of functions
10. APPENDIX
15
V-AMPIRE LX110
11. WARRANTY
11. WARRANTY
§ 1 OTHER WARRANTY RIGHTS AND NATIONAL LAW
1. This warranty does not exclude or limit the buyer’s statutory
rights provided by national law, in particular, any such rights
against the seller that arise from a legally effective purchase
contract.
2. The warranty regulations mentioned herein are applicable
unless they constitute an infringement of national warranty law.
§ 2 ONLINE REGISTRATION
Please do remember to register your new BEHRINGER equipment
right after your purchase by visiting www.behringer.com
(alternatively www.behringer.de) and kindly read the terms and
conditions of our warranty carefully.
Registering your purchase and equipment with us helps us
process your repair claims quicker and more efficiently.
Thank you for your cooperation!
§ 3 WARRANTY
1. BEHRINGER (BEHRINGER International GmbH including all
BEHRINGER subsidiaries listed on the enclosed page, except
BEHRINGER Japan) warrants the mechanical and electronic
components of this product to be free of defects in material and
workmanship for a period of one (1) year* from the original date
of purchase, in accordance with the warranty regulations
described below. If the product shows any defects within the
specified warranty period that are not excluded from this
warranty as described under § 5, BEHRINGER shall, at its
discretion, either replace or repair the product using suitable
new or reconditioned parts. In the case that other parts are used
which constitute an improvement, BEHRINGER may, at its
discretion, charge the customer for the additional cost of these
parts.
2. If the warranty claim proves to be justified, the product will be
returned to the user freight prepaid.
3. Warranty claims other than those indicated above are expressly
excluded.
§ 4 RETURN AUTHORIZATION NUMBER
1. To obtain warranty service, the buyer (or his authorized dealer)
must call BEHRINGER (see enclosed list) during normal business
hours BEFORE returning the product. All inquiries must be
accompanied by a description of the problem. BEHRINGER will
then issue a return authorization number.
2. Subsequently, the product must be returned in its original
shipping carton, together with the return authorization number to
the address indicated by BEHRINGER.
3. Shipments without freight prepaid will not be accepted.
§ 5 WARRANTY REGULATIONS
1. Warranty services will be furnished only if the product is
accompanied by a copy of the original retail dealer’s invoice.
Any product deemed eligible for repair or replacement under the
terms of this warranty will be repaired or replaced.
2. If the product needs to be modified or adapted in order to
comply with applicable technical or safety standards on a national
or local level, in any country which is not the country for which
the product was originally developed and manufactured, this
modification/adaptation shall not be considered a defect in
materials or workmanship. The warranty does not cover any
such modification/adaptation, irrespective of whether it was
carried out properly or not. Under the terms of this warranty,
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptation.
3. Free inspections and maintenance/repair work are expressly
excluded from this warranty, in particular, if caused by improper
handling of the product by the user. This also applies to defects
caused by normal wear and tear, in particular, of faders,
crossfaders, potentiometers, keys/buttons, tubes, guitar strings,
illuminants and similar parts.
4. Damages/defects caused by the following conditions are not
covered by this warranty:
V improper handling, neglect or failure to operate the unit in
compliance with the instructions given in BEHRINGER user
or service manuals.
V connection or operation of the unit in any way that does
not comply with the technical or safety regulations
applicable in the country where the product is used.
V damages/defects caused by force majeure or any other
condition that is beyond the control of BEHRINGER.
5. Any repair or opening of the unit carried out by unauthorized
personnel (user included) will void the warranty.
6. If an inspection of the product by BEHRINGER shows that the
defect in question is not covered by the warranty, the inspection
costs are payable by the customer.
7. Products which do not meet the terms of this warranty will be
repaired exclusively at the buyer’s expense. BEHRINGER will
inform the buyer of any such circumstance. If the buyer fails to
submit a written repair order within 6 weeks after notification,
BEHRINGER will return the unit C.O.D. with a separate invoice
for freight and packing. Such costs will also be invoiced
separately when the buyer has sent in a written repair order.
§ 6 WARRANTY TRANSFERABILITY
This warranty is extended exclusively to the original buyer
(customer of retail dealer) and is not transferable to anyone
who may subsequently purchase this product. No other person
(retail dealer, etc.) shall be entitled to give any warranty promise
on behalf of BEHRINGER.
§ 7 CLAIM FOR DAMAGES
Failure of BEHRINGER to provide proper warranty service shall
not entitle the buyer to claim (consequential) damages. In no
event shall the liability of BEHRINGER exceed the invoiced value
of the product.
* Customers in the European Union please contact BEHRINGER
Germany Support for further details.
Technical specifications and appearance are subject to change without notice. The information contained herein is correct at the time
of printing. All trademarks (except BEHRINGER, the BEHRINGER logo and JUST LISTEN) mentioned belong to their respective owners
and are not affiliated with BEHRINGER.BEHRINGER accepts no liability for any loss which may be suffered by any person who relies
either wholly or in part upon any description, photograph or statement contained herein. Colors and specifications may vary slightly
from product. Products are sold through our authorized dealers only. Distributors and dealers are not agents of BEHRINGER and
have absolutely no authority to bind BEHRINGER by any express or implied undertaking or representation. No part of this manual may
be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any
kind, for any purpose, without the express written permission of BEHRINGER International GmbH.
ALL RIGHTS RESERVED. © 2007 BEHRINGER International GmbH.
BEHRINGER International GmbH,
Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Muenchheide II, Germany.
Tel. +49 2154 9206 0, Fax +49 2154 9206 4903
16
V-AMPIRE LX110
FEDERAL COMMUNICATIONS COMMISSION
COMPLIANCE INFORMATION
Responsible party name: BEHRINGER USA, Inc.
Address: 18912 North Creek Parkway, Suite 200 Bothell, WA 98011, USA
Phone/Fax No.: Phone: +1 425 672 0816,
Fax: +1 425 673 7647
hereby declares that the product
V-AMPIRE LX110
complies with the FCC rules as mentioned in the following paragraph:
This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to
part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference
when the equipment is operated in a commercial environment. This equipment generates, uses and can
radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may
cause harmful interference to radio communications.
Operation of this equipment in a residential area is likely to cause harmful interference in which case the user
will be required to correct the interference at his own expense.
Important information:
Changes or modifications to the equipment not expressly approved by BEHRINGER USA can void the user’s
authority to use the equipment.
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Behringer V-AMPIRE LX110 User manual

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